Thursday, November 29, 2018

This video examines two recent events: the discovery of a long-buried fresco on the wall of a villa in the ancient Roman city of Pompeii, and the presumed death of a young man from the state of Washington at the hands of the Indigenous inhabitants of the remote and protected North Sentinel Island in the Andaman and Nicobar island group, located at the juncture of the Bay of Bengal and the Andaman Sea at the north part of the Indian Ocean.

The fresco discovered in Pompeii depicts the mythical episode of Leda and the Swan.

The young man, John Allen Chau, was ostensibly trying to make contact with the Indigenous people of North Sentinel Island in order to attempt to convert them to literalist Christianity.

Both the discovery and the presumed death of the young man took place around the same time during the month of November, 2018 -- about two weeks ago.

The video examines the celestial foundations of the mythical episode of Leda and the Swan, as well as other myths involving the amorous adventures of the god Zeus (known as Jove or Jupiter among the Latins and the Roman civilization), as well as related myths from other cultures involving the same constellations in the night sky -- and their possible esoteric significance.

As always, please feel free to share these videos, and to subscribe using the "subscribe" button immediately below the video itself (in order to receive notification when new videos are posted).

It should be read and considered very carefully, as should everything else that Graeme MacQueen writes.

The article points to the pioneering and decades-long work of Vincent Salandria (born 1926), whose insights regarding the assassination of President John F. Kennedy should be known to everyone -- but who (revealingly) does not even have a Wikipedia entry about his life and work in spite of his tremendous stature and importance as the first citizen to analyze the Warren Report and publish an article exposing its egregious contradictions, in The Legal Intelligencer (the oldest law publication in the nation), and to continue to set an example of courageous willingness to confront the truth of what took place on November 22, 1963 in the months, years, and decades since -- right up to the present day.

Specifically, Professor MacQueen points to one specific and particularly incisive aspect of Vincent Salandria's analysis of the assassination of President Kennedy: asking how "an innocent government" would be expected to have dealt with the varying types of evidence available following the murder itself, and contrasting that with the way evidence was deliberately destroyed, eyewitness testimony was ignored, and a single explanation was advanced within hours of the event and all other possible hypotheses summarily rejected, dismissed, ridiculed, or otherwise bulldozed in favor of the one officially-sanctioned explanation.

Professor MacQueen calls this line of examination "the Salandria Approach" -- rather than getting bogged down in endless analysis of bullets, trajectories, and grassy knolls, looking instead at the way the official inquiry completely brushes aside any evidence but that which supports its predetermined narrative, and asking if this is the way anyone who really wanted to get to the truth (rather than someone who wanted to cover up the truth) would behave.

Professor MacQueen's article makes the case that the very same pattern can again be seen to have taken place in the response to the mass-murders of September 11, 2001 in which once again evidence was deliberately destroyed, eyewitness testimony was ignored, and a single explanation was advanced within hours of the event and all other hypotheses summarily rejected, dismissed, ridiculed, or otherwise bulldozed in favor of the one officially-sanctioned explanation.

As Graeme MacQueen points out, this approach is paradigm-shifting in cutting through the interminable analyses and getting right to the very heart of the matter: the obvious and undeniable fact that the government response has been the opposite of what one would expect if an honest effort were being made to discover the truth of what actually took place in these world-shaking events, and to find out who was really behind these murders.

There, in the foreword to the book, Vincent Salandria plainly states that the supposed "mystery" of the assassination of John F. Kennedy in 1963 is no mystery at all: "the truth was there for all of us to see." He then places his finger directly on the real issue:

For most of the people the truth was too painful and placed upon us too much responsibility. We did not wish to re-examine, condemn, and confront the violence in the extra-constitutional power structure that finally ascended to hegemony over our citizenry and over much of the world.

Clearly (as Graeme MacQueen makes reference in his article published just yesterday) this is not an issue that belongs to a bygone era, as far away as 1963 may seem to us here at the end of 2018. Our ongoing refusal to take responsibility and to re-examine, condemn, and confront the power structure that ascended following the murder of the president on that day continues to impact everything that has happened in the years since then, and will continue to do so until it is confronted.

If you read that article very carefully and all the way to the end, you will see why Vincent Salandria arrived at such a conclusion about the events of that historical day, and why he perceived that the events of that day have led directly to the deterioration of "the standard of living of our workers and the middle class" along with a deterioration in "the quality of their lives" -- and why he believed there was an ongoing campaign of deliberate destabilization and even the introduction of chaos (both words are used in the original article) in order to prevent a healthy and united people who could isolate and eliminate the usurping elements from their political life.

Indeed, he even warned at that early date -- in 1971 -- of the likelihood that those behind the murder would seek to deliberately "promote the polarization of our society," primarily along ethnic lines (in another article, he described it as "a systematic program of polarization").

At the end of the foreword to his book, Vincent Salandria declares that his primary commitment is to his responsibility to bear witness to the truth. In doing so, he has been fulfilling for these past 55 years, the role of a prophet -- for, as the scholar of ancient truths Peter Kingsley has explained:

Prophecy is not about the future. Prophets don't talk about the future. What they do is: they talk about the past -- which has been hidden. Things which have happened -- that have been covered over, and no longer clear. That is what the real prophets do: they speak of the past, but the past that has been forgotten.

In the ancient texts such as the Iliad, as Peter Kingsley points out, the prophet explains to the people why they cannot move forward until they address a great wrong that has taken place in the past and that the people have refused to confront.

And this is what Vincent Salandria is doing. In his 1972 article entitled "The Promotion of Domestic Discord," also included in that same online text of False Mystery, he advises that we should not think that we can "drop out" of society in order to escape the need to confront the ramifications of November 1963, because: "There is no place to hide from the power that can gun down a President."

Instead of dropping out, he offers a clear alternative:

No, let us not turn away from the horror of the killing of John F. Kennedy. Let us join together, black and white, rich and poor, Jew, gentile, conservative and radical, to tell the truth about the killing of Kennedy. Through this refusal to live a great lie we will come together to understand and love ourselves and our society better. Let us not delay in this union of truth. If we do not join together in the search for truth, then guns backed by cover-story lies will pick us off one by one and ultimately join us together -- in death.

The video of the conversation with Derek and Luther can be found here, and I recommend watching the interview because a conversation can bring out aspects of and perspectives upon a subject that don't always arise in a monologue video.

However, for those wanting to see the visuals that I was presenting and discussing during that interview, in a full-screen format that is easier to see than the presentation in the above interview, please follow the above link and watch the new video, which covers much of that same material (while presenting a few insights which even regular visitors might not have heard previously).

I am convinced that one of the truths which the ancient wisdom of the myths and scriptures from cultures around the world are designed to convey is the awareness that we ourselves already have access to the Infinite Realm, which means that everything we need -- far from being external to us, is available to us at all times.

However, as the above video makes abundantly clear, the story that continues to be pushed by controlled media outlets is demonstrably false, and the abundant evidence that it is false has been amply documented for decades.

To continue to push the blatant lie that the 918 men, women, boys and girls killed at Jonestown "committed mass suicide" constitutes an insult and an injustice to those who lost their lives in that massacre, as well as to the memory of Congressman Leo Ryan and members of his delegation (including two members of the press) who were killed when Congressman Ryan, who represented a congressional district from which many members of the "Peoples Temple" cult had been recruited (and who was also a former mayor of San Francisco, where the Peoples Temple had been headquartered before it moved to Guyana) visited Jonestown to investigate the allegations of abuse and enslavement that had come to his attention.

In addition, to continue to refer to Jim Jones as an "itinerant preacher" (as the above-linked NPR piece does in its second sentence, immediately following the first sentence which is quoted above) is to ignore the undeniable connections between Jones and very powerful patrons, many of them mentioned in the video documentary. Such a description is absurd.

In order to disabuse yourself of the lies and ongoing cover-up regarding the events of that fateful day, I would recommend carefully watching the above video in its entirety, perhaps several times. It is a segment of a 2006 documentary entitled Evidence of Revision: The Assassination of America.

You can also listen to a somewhat condensed, audio-only version of the same material by visiting the archive of Bonnie Faulkner's long-running show, Guns and Butter. You can scroll down to episode #188, which aired on November 18, 2009, and which you can listen to online (or download to a mobile device) by following this link.

If you pay close attention, you will understand why the truth regarding the Jonestown massacre continues to be deliberately obfuscated to this day.

And, if you think about it, you will also perceive that the Jonestown massacre was not perpetrated by "the government."

Congressman Leo Ryan of the House of Representatives was a representative of "the government" -- which is to say, a representative of the lawful power of the people (in a democratic republic). The fact that he was murdered demonstrates a desire by those responsible for the things that were going on at Jonestown to prevent the details of what they were doing from becoming known to the government. The massacre followed his murder and the murder of some of those with him.

This point is extremely important to contemplate carefully. I am convinced that the best hope for the prevention of injustice, oppression, and everything associated with organized crime lies in the power of the people expressed through democratic government and its lawful organs of power.

The murder of Leo Ryan demonstrates that, despite their great power and obvious control over many who are in the government, the forces behind what was taking place at Jonestown in Guyana understand the potential threat posed by the representatives and institutions of a democratic government.

The continued repetition of egregiously, demonstrably false explanations of the Jonestown massacre as "mass suicide" demonstrates very much the same thing regarding the potential threat posed by the people themselves, should they ever wake up to what is going on.

Indeed, it is the power of the people themselves (should they ever become aware in large numbers to what is going on) which poses the greatest threat, because (as we have seen in the forty years since the perpetration of the massacre of more than 900 American men, women, boys and girls in Guyana), the representatives will not on their own do much of anything to confront the problem if the people themselves do not wake up and demand it.

On a personal note, Congresswoman Jackie Speier of the House of Representatives, who is seen in the video linked above and who was part of the delegation led by Congressman Leo Ryan to visit Jonestown forty years ago, is the currently-serving representative for the congressional district containing my hometown and the place where I was born.

She was a legal aide to Congressman Ryan at the time. She was elected to this office in a special election following the death of the late Congressman Tom Lantos in 2008. Tom Lantos is the Congressman who appointed me to West Point back in 1987.

Below is a screenshot from the video documentary, showing Congressman Leo Ryan in Jonestown, on the night of November 17, 1978, the day before he was murdered. You can see this image at about the 0:49:49 mark in the video.

As the camera pans out, we see in the background a hand-painted sign, affixed to the wall of the building within the Peoples Temple compound where Congressman Ryan was speaking that day. It speaks to the danger we all face if we continue to refuse to wake up.

Friday, November 16, 2018

Special thank-you to Dr. Luther G. Williams and Mr. Derek Lambert for inviting me over for a very enjoyable discussion of the celestial foundations of the world's ancient wisdom, contained in the myths, scriptures and sacred stories of cultures around the globe.

Derek and Luther named their program the WaterBoyZ -- inspired, they explained, by the well-known interview with the great Bruce Lee, in which he says: "Be water, my friend."

If this is your first time visiting this blog or website after hearing about this research on the show, I hope that you will find this discussion of the ancient wisdom, given to virtually every culture on our planet as a precious treasure, to be helpful in some way -- and hope you will visit again soon!

If you enjoyed the interview, please give some feedback to Derek and Luther at their YouTube channel, their websites, or below the video itself.

I certainly wish Derek and Luther great success with their own research and with their podcasting, and hope to cross paths with them again soon!

On a personal note, it happens that Derek conducted the interview from Fayetteville, North Carolina, where he lives with his family -- and where I spent some very formative years while I was in one of the line battalions of the the 82nd Airborne Division, at Fort Bragg, during the early 1990s.

After the interview was over, I ran across an old mug from my days at Fort Bragg (an ancient artifact), which I would have used during the interview had I come upon it earlier. Here's a photo of me unwinding by enjoying a nice cup of organic apple cider vinegar from the old mug (I don't drink coffee these days), immediately following the completion of the interview:

(as with many ancient pieces of pottery, the mug has a different design on the other side).

Saturday, November 10, 2018

One year ago this week, articles in newspapers, magazines, and academic journals around the world began to appear, showing images of the amazing ancient artifact that has come to be called the Pylos Combat Agate, shown above.

This hard gemstone was unearthed in a tomb discovered near the city of Pylos, on the west coast of the Peloponnese in Greece -- an ancient city, mentioned in the Iliad and the Odyssey. The tomb, a "shaft grave," was found in an olive grove outside the ancient ruin known as the "Palace of Nestor," and had apparently not been disturbed since being sealed, fully 3,500 years before. The tomb contained a complete skeleton of a male warrior, with armor and swords and over 3,000 artifacts -- including more than fifty "sealstones."

One of these, the stone shown above, was initially encrusted with mineral deposits and had to be carefully cleaned in a process that took some months, but which revealed a scene of incredible artistic sophistication and detail. The artwork is even more astonishing because the entire stone on which the scene is engraved is only 37 millimeters in length!

Some of the articles which describe the significance of this find are listed below. Note that the grave has been dubbed "the tomb of the Griffin Warrior" based on artwork discovered in the tomb on a different artifact:

A friend on Twitter alerted me to the articles describing this incredible discovery when these articles were first appearing, in early November, 2017.

I immediately recognized that this scene, which had lain under the earth for 3,500 years (and which was executed with a level of detail and precision that astonished scholars and historians) was also remarkable for another reason.

The scene on the stone can be shown to be based on specific constellations, using a system of celestial metaphor that informs other artwork from other cultures and other centuries -- indeed, even from other millennia!

Part of the reason that the constellational connections in the scene were so obvious to me was that I had previously published discussions of the celestial connections in other scenes patterned upon the same constellations -- in books discussing the ancient myths, scriptures and sacred stories that can be shown to be based on celestial metaphor (such as Star Myths of the World, Volume Two: Myths of Ancient Greece, and Star Myths of the World, Volume Three: Star Myths of the Bible, both of which were published in 2016, before the existence of the Pylos Combat Agate became known to anyone living in modern times).

Believing that this connection would be of interest to scholars, I wrote an article describing the patterns in the artwork which match the characters in the scene to the constellations Hercules, Ophiuchus, Scorpio and Sagittarius in the night sky (as well as to the star Vega in the constellation of Lyra the Lyre). I sent this article to one scholarly publication after another, including those focused on art history, as well as those focused on ancient Greece and Rome.

After receiving polite rejections from all of them, I published my analysis on my own blog and in online sites interested in the research of ancient history and the evidence that the conventional paradigm of ancient history is in need of revision. You can find links to blog posts discussing the celestial connections below. These blog posts also contain links to articles on the celestial connections in the Pylos Agate which were published on Ancient Origins and on Graham Hancock's website, as well as links to one version of the articles that I submitted unsuccessfully to various scholarly publications:

I also created a video illustrating the celestial connections in this ancient artifact, which I titled "The Pylos Combat Agate among the Infinite Realms" and which I embedded below. That video contains some footage showing the "sandy beaches of Pylos" mentioned in the Odyssey, as well as of the ruins of the grand edifice dubbed the Palace of Nestor, which is nearby to the grave site of the Griffin Warrior.

You will see that specific details in the artwork on this ancient stone point to an undeniable celestial connection -- including the "extended leg" and body posture of the triumphant swordsman, the "overhead weapon" of that swordsman (matching the outline of the constellation Hercules in the night sky, who carries a weapon brandished overhead as well), and the grasping by that same swordsman of the crescent-shaped crest of the spearman's helmet with his other arm (matching the many myths in which a figure associated with Hercules grasps another figure associated with the crescent-shaped constellation of Corona Borealis, which is just beyond the downward-reaching "other arm" of the constellation Hercules in the heavens).

Below is one example of ancient artwork in which the hero Heracles is depicted grasping such a helmet-crest, while standing in a posture reminiscent of the outline of the constellation Hercules in the night sky:

Below is another, in which Heracles is even more clearly depicted in the posture suggested by the outline of the stars in the constellation Hercules -- and in which one hand brandishes a sword overhead while the other reaches out towards a crescent-shaped helmet crest (although the artist does not have Heracles actually grasp this crest, in this particular scene):

Here is another depiction of a very similar scene, but on a different ancient vase (you can see that it is a different piece of artwork if you look closely, particularly if you look at the shields carried by the Amazons whom Heracles is battling in the scene). Obviously, this particular mythological encounter, which can be shown to be based upon specific constellations in the night sky, was very popular among ancient artists:

Finally, here is yet another piece of ancient artwork, this one dated to about 450 BC, which shows the hero Heracles in a similar posture (based on the outline of the constellation Hercules in the sky), once again brandishing his weapon over his head, but this time reaching out with his other hand towards a different crescent-shaped object: the massive curving horn atop the head of a figure who is usually identified as the god Achelous (a very important figure in ancient mythology, discussed in my 2014 book The Undying Stars):

In all of these scenes, the figure of Heracles is associated with and depicted in the same general posture as the outline of the constellation Hercules in the heavens -- and is reaching out with his lower arm (the arm not brandishing a weapon) towards a crescent-shaped object, which is usually a helmet crest but can also be envisioned as the great curved horn of Achelous, and which clearly corresponds to the beautiful crescent-shaped arc of stars known as Corona Borealis, or the Northern Crown.

The same posture, and constellational connections, can be seen in the artwork depicted on the newly-discovered Pylos Combat Agate, albeit on an artifact that was made over a thousand years earlier. And there are many other details in the artwork which point to an undeniable celestial connection, such as the location of the enlarged "sphere" or "globular" tip of the scabbard of the swordsman, which corresponds to the location of the bright star Vega in the heavens, in the constellation Lyra which is also adjacent to the constellation Hercules (see star-chart below, with comparison to the figures in the Pylos Combat Agate):

And those are just a few of the correspondences (mostly those associated with the figure of the swordsman in the Combat Agate) -- many more can also be discussed, and these also have parallels to other artistic depictions of mythological scenes and figures from other centuries and other cultures.

I would have thought that, given the importance of this archaeological find, and the radical revision of the conventional understanding of history that this artifact should engender, that the undeniable parallels between the scene on the Pylos Combat Agate and the constellations of the night sky (as well as undeniable connections to other artwork from other cultures, depicting other figures based on those same constellations, including David slaying Goliath as described in 1 Samuel and as depicted on artwork from many different centuries, and Hercules or Heracles slaying a variety of opponents as depicted in literally hundreds of pieces of ancient Greek pottery) would be of interest to scholars and art historians, as well as to some of the same publications that were interested in the discovery of the Combat Agate in the first place.

Thus far that does not seem to be the case. There seems to be a widespread reluctance on the part of academia to investigate certain lines of inquiry, despite overwhelming evidence which points in those directions.

I remain confident, however, that the truth will not remain suppressed forever.

Sunday, November 4, 2018

Here's a new video I just published entitled "Star Myths: the ancient system" which describes what I mean when I assert that virtually all the world's ancient myths, scriptures, and sacred stories are based on a system of celestial metaphor -- that the characters and events can be shown to be founded upon specific constellations.

Virtually all of the characters and episodes described in the Bible, for example, are based on specific constellations -- from the characters of Adam and Eve (and, for that matter, the Serpent) all the way through to the visions described in the book of the Revelation of John.

This fact by itself is not at all widely understood, and has tremendous implications -- but even more astonishing is the fact that the same can be said for the characters and events described in the myths of ancient Greece, and of ancient India, ancient China and Japan, ancient Egypt, ancient Mesopotamia, and those of other parts of Europe including the Norse myths, and of other parts of Asia, and of cultures from Africa, Australia, the Americas, and the Pacific.

Still more astonishing is the fact that the system of celestial metaphor used in these ancient myths appears to be a world-wide system: it envisions the constellations in the same way, and ascribes to them similar characteristics, from one culture and mythology to another, even though separated by mighty oceans. Evidence is presented in this video to establish the commonality of this system -- and hundreds more such examples could be offered.

The ramifications of this evidence are profound, and should change our understanding of humanity's ancient history. Additionally, it is very likely that this ancient system was using these celestial metaphors to convey esoteric truths intended for our benefit -- truths we still need in our lives, to this very day. The more we learn to understand the language that they are actually speaking, which is a celestial language and a metaphorical language, the more likely we are to be able to hear what they are trying to tell us.